November 19, 2008

Mises-en-Abyme, Bly, Naive, May, Copland, Hyde.

-- I am looking up, for what seems to be the thousandth time, mise-en-abyme. Or mise-en-abime, wherein the i has a little chapeau thingie on it. One thought I had: Why, oh why, in tarnation is this image linked from that Wikipedia article? I know not. But there are super discussions on this rather malleable term here and here. But it's here that got me looking for images of old Quaker Oats logos. WTF?

-- Linked from some then I end up reading bits of Freidrich Schiller's essay "On Naive [also: Simple] and Sentimental Poetry"; copies here and here.

-- Speaking of Brian "is God" May: Really, Alex Ross? Copland Will, Copland Will Rock You? Read and listen here.
I don't hear it--and what's more it seems it's just another rock critic's stab at making Queen out to be a pastiche factory. My wife sliced and diced Copland for months while working as the music
editor for this movie--for which she should have gotten an Academy Award nomination, IMHO--and never once did I listen to "Fanfare for the Common Man" and say to myself, "wow, that
sounds like the Red Special." Even when I rocked out to the Emerson, Lake & Palmer one, yo.

-- Read a little bit about Leaping Poetry for classes tomorrow; here's a little nugget from Robert Bly's essential Leaping Poetry: An Idea With
Poems and Translations:

In ancient times, in the “time of
inspiration,” the poet flew from one world to another, “riding on dragons”....
They dragged behind them long tails of dragonsmoke. ... This dragonsmoke means
that a leap has taken place in the poem. In many ancient works of art we notice
a long floating leap at the center of a work. That leap can be described as a
leap from the conscious to the unconscious and back again, a leap from the
known part of the mind to the unknown part and back to the known.

Comments

-- I am looking up, for what seems to be the thousandth time, mise-en-abyme. Or mise-en-abime, wherein the i has a little chapeau thingie on it. One thought I had: Why, oh why, in tarnation is this image linked from that Wikipedia article? I know not. But there are super discussions on this rather malleable term here and here. But it's here that got me looking for images of old Quaker Oats logos. WTF?

-- Linked from some then I end up reading bits of Freidrich Schiller's essay "On Naive [also: Simple] and Sentimental Poetry"; copies here and here.

-- Speaking of Brian "is God" May: Really, Alex Ross? Copland Will, Copland Will Rock You? Read and listen here.
I don't hear it--and what's more it seems it's just another rock critic's stab at making Queen out to be a pastiche factory. My wife sliced and diced Copland for months while working as the music
editor for this movie--for which she should have gotten an Academy Award nomination, IMHO--and never once did I listen to "Fanfare for the Common Man" and say to myself, "wow, that
sounds like the Red Special." Even when I rocked out to the Emerson, Lake & Palmer one, yo.

-- Read a little bit about Leaping Poetry for classes tomorrow; here's a little nugget from Robert Bly's essential Leaping Poetry: An Idea With
Poems and Translations:

In ancient times, in the “time of
inspiration,” the poet flew from one world to another, “riding on dragons”....
They dragged behind them long tails of dragonsmoke. ... This dragonsmoke means
that a leap has taken place in the poem. In many ancient works of art we notice
a long floating leap at the center of a work. That leap can be described as a
leap from the conscious to the unconscious and back again, a leap from the
known part of the mind to the unknown part and back to the known.

"Lively and affectionate" Publisher's Weekly. Now in paperback.Click image to order your copy.

Register now for our 5th annual session Jan 27 - Feb 3. “What better place to read, write, and talk about the art and craft of writing than Todos Santos, where all the saints of the sea and sky watch over you?” - Christopher Merrill

Radio

I left it
on when I
left the house
for the pleasure
of coming back
ten hours laterto the greatnessof Teddy Wilson"After You've Gone"on the pianoin the cornerof the bedroomas I enterin the dark